Colour in Sculpture: A Survey from Ancient Mesopotamia to the Present

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Description

This book introduces the reader to the art of sculpture across five millennia up to the present, and from the Near East to the west. In each and every of the eleven chapters, quite a few selected works are discussed to exemplify the circumstances and conditions for making pieces of sculpture – objects extraordinary to place, time and context. Within each and every cultural framework, characteristics are observable that suggest more than a few reasons for using colour in sculpture. These encompass local preferences, customs or cultural requirements; and others point to an impulse to give a boost to the expression of the phenomenal. Whether colour is truly necessary or even essential to sculpted artworks is a question especially pertinent since the Renaissance. Surface finishes of sculptural representations may allude to the sensory world of colour without even having pigment applied to them. What makes polychromy so special is that it functions as an overlay of another dimension that from time to time carries further encoded meaning. In nature, the colour is integral to the given object. What the present survey suggests is that the relationship between colour and sculpture is an issue of intentional expression, even where the colour is intrinsic – as in the sculptor’s materials.

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